The Dylans decamped to rural New York state for some peace. They didn’t get it. The presence of Bob Dylan gave the tiny town of Woodstock such countercultural kudos that its name was given to an “aquarian exposition” – the famous 1969 festival in a neighbouring county which didn’t feature Dylan, but did bring half a million people into his back yard.

For some of them, “Dylan’s back yard” was no metaphor, and they never went away. The Dylans soon wearied of finding hippies in the trees around their home and Dylan became frightened that he might have to use his “clip-fed Winchester blasting rifle” to keep them from his family. Onwards, then, to an Arizona ranch.

The Kingsmen noticed that their audiences now included middle-aged men in suits and shades and were soon questioned by the Feds, apparently being told: “You know we can put you so far away that your family will never see you again.”
They insisted that Louie Louie was innocent, but as ardently as they’d sought reds under the bed, and over the course of two-and-a-half years, the G-Men contrived a series of eye-wateringly unpalatable images and practices from Ely’s mumbles.

His first album, the pastoral Five Leaves Left, correspondingly begins with the lines: ‘Time has told me you’re a rare, rare find / A troubled cure for a troubled mind’.

The second, Bryter Layter, is purposefully upbeat and the last, Pink Moon, ends: ‘So look, see the sights, the endless summer nights / And go play the game that you learned from the morning’. This is music of comfort, not of despair; rebirth, not death.

These conversations were fractured. Wilson, who had been denied a childhood, would break off to show Asher his mechanical parrots or to watch episodes of Flipper, an “aquatic Lassie” series about a dolphin which invariably reduced him to tears.

In time, Wilson played Asher the pieces of music he had in mind for an album called Pet Sounds and Asher essayed some lyrics to fit the themes Wilson had in mind. When they got to God Only Knows, things didn’t start well. Wilson felt that “I may not always love you” was absolutely the wrong way to kick off a love song. Too negative, he insisted.

One rainy night in 1939, he wrote the opening lines of Aquarela do Brasil (Watercolour of Brazil): “Brasil, meu Brasil brasileiro.” This translates as “Brazil, my Brazilian Brazil”. Never have four words been more Brazilian, before or since.

The censors had issues with some colloquialisms and a folksy reference to tambourines, but Barroso persuaded them that his “samba exaltacao” was modern and patriotic enough to meet their exacting requirements.

Another Star closes side four of Songs in the Key of Life – the very end of a four-album run in which Wonder relentlessly outdid himself. He had originally intended to follow his previous, Fulfillingness’s First Finale, with a sequel.

Fulfillingness’s Second Finale was to be a darker, socially conscious experience, but Wonder’s ambition overtook him, and he spent two years putting together a double album (with bonus single) instead.

No space this time for a collection of cover versions, so here they are.